oes 


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SARGENT | 
EMORIAL — 
yet eELiON 


JOHN SINGER 








| MDCCCCXXVI 


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JOHN SINGER SARGENT 
A ~eMEMORIAL EXHIBITION 


we 


A 





THE METROPOLITAN MUSEUM OF ART 


MEMORIAL 


EXHIBITION 


OF THE WORK 
OF 


JOHN SINGER 
SARGENT 
Ts 


NEW YORK 
JANUARY 4 THROUGH FEBRUARY 14 
1926 





CONTENTS 


HONORARY COMMITTEE VII 
EIST OF LENDERS IX 
NOTE BY EDWARD ROBINSON XI 


INTRODUCTION: JOHN SINGER SARGENT, 1856-1925 


BY MRS. SCHUYLER VAN RENSSELAER XIII 
AWARDS AND HONORS XXITI 
CATALOGUE OF PAINTINGS IN OIL 3 
CATALOGUE OF WATER-COLORS I 


ILLUSTRATIONS ie) 





“ 


HONORARY COMMITTEE 


Rosert W. pe Foresr 
President of the Museum 


Francis C. Jones 
Chairman of the Committee on Paintings 


Epwarp Rosinson 
Director of the Museum 


Bryson Burroucus 
Curator of Paintings 


Epwin H. BiasHFIELD 
President of the National Academy of Design 


D. Everetr W arp 
President of the American Institute of Architects 


DanieEL CHESTER FRENCH 
Honorary President of the National Sculpture Soczety 


Frank L. Bassorr 
President of the Brooklyn Institute of Arts and Sciences 


Wurm Henry Fox 
Director of the Brooklyn Museum 


W ut1aM Rutruerrorp MEap 
President of the American Academy in Rome 


'T’. JEFFERSON CooLtpcE 
President of the Museum of Fine Arts, Boston 


Rosert I. ArrKENn 
Cecitta Beaux 
GerorceE Grey BARNARD 


W ater L. CiarKk 


[ vii J 


Roya Cortissoz 

Paut DoucuHerty 

CurtpeE Hassam 

Joun Curisren JOHANSEN 

Paut Mansuip 

H. Stppons Mowsray 

Cuarces A. Pratr 

Joun Russett Pore 

Mrs. ScouyLerR Van RENSSELAER 
Mrs. Sranrorp WuiteE 


Irving R. Wires 


ae 5 


LIST OF LENDERS 


Joun S. Ames 

ANONYMOUS 

Henry F. Bicrtow 

Museum oF Fine Arts, Boston 
Muss Heten O. Brice 

Tue Brooxtyn Museum 

Bryn Mawr Co.tece 

Mrs. Austin CHENEY 

Tue Arr Institute or Cuicaco 
Cincinnati Museum AssocraTIon 
James H. Crarke 

Mrs. Louis Curtis 

Mrs. C. T. Davis 

Livincston Davis 

Mrs. NaTHANIEL F. Emmons 

W irtram C. Enpicorr 

Focc Arr Museum 

Tuomas A. Fox 

Mrs. Cuarues E.. GREENoUGH 
Mrs. Harotp F arquuar Happen 
Ricuarp W. Hate, Jr. 
Harvarp Crus or New York 
Harvarp UNIversity 

Mrs. J. Woopwarp Haven 
Vicror D. Hecur 

Mrs. Cuartes E.. IncHEs 

Miss GeorcinE IseLrv 


Henry JAMEs 


WiuiiraM James 

Jouns Hopkins UNIversity 

Aucustus P. Lorinc 

W itt14M Cares Lorinc 

Mrs. ALtLan Marquanp 

Louis B. McCacc 

Tue Minneaporis [nstirure oF 
ARTS 

Mrs. Dave H. Morris 

NationaL AcADEMy OF DeEsiIcn 

Joun B. Parne 

‘THe Prayers, New York 

Mrs. Josepu Putirzer 

Epwarp Rosinson 

Joun B. Rosrinson 

Tue Execurors oF THE WILL OF 
Joun SINGER SARGENT 

Mrs. Witi1am Jay ScHIEFFELIN 

Pau. ScHuLze 

Hersert M. Sears 

Mrs. MonrcoMery SEARS 

Ricuarp D. Sears 

I. N. Puetrs Strokes 

Fiske W arren 

Mrs. Stranrorp WHITE 

Mrs. Payne WuitNey 

Ecerton L. Winturop, Jr. 


W orcestER Art Museum 


[ix J 





NOTE 


THE reasons for holding a memorial exhibition of the works of 
John Singer Sargent in The Metropolitan Museum of Art are for 
the most part so obvious as to call for no explanation. For forty years 
he was an outstanding figure among the great painters of the world, 
and while practically his whole life was spent in Europe because he 
found he could work better there than here, it was as an American 
that he always wished to be considered,and as such that we do honor 
to his memory now. 

There is one reason, however, not widely known, why it is pe- 
cuharly fitting that this tribute should be paid him here. Although 
his visits to New York were rare and brief; he remained a steadfast 
Sriend of our Museum, greatly interested in its growth and a firm 
believer in its future. It was due to this interest that we were able 
to secure his famous portrait of Madame Gautreau, which he had 
constantly refused to sell to others, and of which he wrote when he 
consented to let us have it, in 1916, “I suppose it is the best thing 
I have done.” Yet the price he put upon it for the Museum was 
exactly one fifth of what he was then being offered elsewhere. In 
the same spirit, when he learned that the Museum wished to form a 
small collection of his water-colors, he asked that he might make the 
selection himself and be allowed several years for doing so, in order 
that he might be sure of our having what he considered the best of 
his output during that time. It was with his assistance also that we 
were put in a position to purchase the fine portrait by El Greco which 
hangs in our Spanish gallery. Such facts as these we are glad to 


remember now. 


cx J 


NOTE 


In selecting the pictures for this eachibition the aim has been to 
make it representative rather than complete, even of his works which 
are owned in America. The fact that the Royal Academy is hold- 
ing a Sargent memorial eahibition at the same timein London has 
prevented our borrowing any from England, but fortunately some 
of his best paintings are in this country, and of these the present 
exhibition offers an eaceptional opportunity to judge. That such is the 
case 1s due to the many who responded most generously to our appli- 
cations for loans, and to whom grateful acknowledgment is made. 

To Mrs. Schuyler Van Rensselaer we are under great obligation 
for her admirable Introduction to this catalogue, which in itself 
forms a distinguished feature of the exhibition. 

For the Trustees, 
Epwarp Rosinson, 
Director 


[ xii J 


JOHN SINGER SARGENT 
1856-1925 
Pisce SARGENT knew nothing of the external difficulties that 


have hampered intheir youth many American artists. Heredity 
favored him, environment and circumstance stimulated and en- 
couraged him. But he was not tempted by an open path to think 
it an easy one, or by great gifts to feel sure of great achievement. 
The true passion for his art that possessed him showed itself 
from his earliest to his latest days in rigorous self-criticism and 


unremitting effort. 


In 1678 the founder of his family in America— William Sar- 
gent, an Englishman and apparently a seafarer— married Mary 
Epes of Gloucester, Massachusetts, and settled in that place. 
One of their fourteen children, Epes Sargent, born in 1690, a 
prosperous merchant and ship-owner, married as his second 
wife Catherine Winthrop, and to this couple trace back the most 
distinguished of the many Sargents of the Gloucester stock who 
have made their mark in past or present days —Charles Sprague 
Sargent the famous dendrologist and John Singer Sargent. If 
little is known, I may add, of the ancestors of Epes Sargent it is 
not so with his wife: she was descended from the two John Win- 
throps, father and son, one of whom was founder and governor 
of the Massachusetts Bay Colony and the other of Connecticut, 
and through her mother from the two Dudleys, likewise father 
and son, who were also among the early governors of Massa- 
chusetts. 

All John Sargent’s paternal forbears were born in Gloucester, 


r xiii J 


INTRODUCTION, 


but his father, Fitz William Sargent, studied and practised medi- 
cine in Philadelphia and married there Mary Newbold Singer 
of a well-known family. After 1854 they lived in Europe. Mr. 
Sargent, who died when his son was thirteen, is remembered as 
a clever carver in wood and also a draughtsman, illustrating a 
book of his own on surgery. His wife, widely cultivated, a mu- 
sician, and in some degree an artist, began with intelligence the 
training of their son, taking him sketching with her when he was 
a small boy in Italy and insisting that, however many sketches 
he might begin in a day, each day he must finish one of them. 

Born in Italy —at Florence on January 10, 1856— John Sar- 
gent was educated in Florence, Rome, and Nice, studied for a 
short time in Germany, and had already seen much of art and of 
nature and had worked to good account in the Academy of Fine 
Arts in Florence when, in 1874 at the age of eighteen, he entered 
the studio of Carolus Duran, then the most popular portrait 
painter in Paris. Here Sargent worked for five years, helping his 
master at times with his mural pictures yet finding chances to 
travel in Italy, Spain, and Morocco, studying and sketching by 
the way. Until 1884 his studio was in Paris. Then he moved to 
London where he made his home for the rest of his life. 

Yet he spent much time in this country, coming for a first 
brief visit at the age of twenty, not again for eleven years, but 
often after that, painting many of his best portraits in New York 
and Boston. In 1899 there was held in Boston the first large ex- 
hibition of his pictures, including some that were sent for the 
purpose from England. Meanwhile, in 1890, he had been com- 
missioned by the Public Library of Boston to decorate one of 


its principal rooms, and this, with commissions of the same kind 


x1 | 


JOHN SINGER SARGENT 


from the Boston Museum of Fine Arts and from Harvard Uni- 
versity, meant more and more frequent and extended visits. For 
a good many years he had a studio in Boston where, fortunately, 
there were kinsfolk to welcome him. And here as in Europe he 
was an eager traveler, going as far afield as Florida and the 
Canadian Rockies. 

On April 15, 1925, he died at his home in London, suddenly, 
in his sleep, at the age of sixty-nine. Only two or three days 
later he was to have sailed once more for America, to see the last 
of his mural decorations put in place. It was the end of asingu- 
larly diligent, prolific, and successful career. Everywhere he had 
won the admiration of the competent in matters of art, and in 
England and America a popular fame unequaled in our time. 

Nor had he had to wait long for notable success. While still 
in tutelage a portrait of Carolus gained for him a mention honorable 
at the Paris Salon, and was the picture of the year in New York 
where it was the first of his works to be shown. During the next 
few years he painted, with outdoor figure-pieces in Paris, Brit- 
tany, and Italy, three important canvases as different in kind as 
comparable in excellence and distinction: the spirited Spanish 
dancing-scene, called //./aleo, now in the Gardner Museum in 
Boston, the charming portrait of an American girl, Miss Burck- 
hardt, with a white rose in her hand, and the large square pic- 
ture of the little daughters of Edward Boit now owned by the 
Boston Museum of Fine Arts, a fourfold portrait in a beautifully 
rendered wide and simple interior. These three pictures were 
ereatly praised in Paris, and E/ /aleo was at once reproduced 
in the Gazette des Beaux-Arts. We may be glad that they are 


all in this country, for they still rank among Sargent’s best. And 


T xv J 


INTRODUCTION , 


so it is with a picture painted in 1884 in yet another vein, the 
striking full-length figure of Madame Gautreau, called Madame 
X in the Metropolitan Museum where it now abides. ‘Thus by 
the time he was twenty-eight Sargent had reached maturity in 
his art and taken a place in the front rank of the painters of the 
day. 

But for a young man so independent and so versatile it could 
not be all fair sailing at a time when, despite many innovations 
in the art of painting, academic conventionality was largely re- 
vered. In Paris there had been much fault-finding as well as 
great praise. In particular the portraitof Madame Gautreau, which 
then seemed more audacious in pose and in costume than it does 
now, provoked a tempest of discussion. And for years in London, 
as striking and often very ambitious portraits appeared in sur- 
prising numbers and variety, the derogatory and laudatory voices 
of the press perplexed a public which, nevertheless, crowded 
around every Sargent that hung on an exhibition wall. Almost 
every condemnatory thing that could be said of pictures was 
said by somebody of Sargent’s, excepting that they lacked clev- 
erness. Of course there was something of jealousy, of envy, in 
the strictures, more of an ingrained dislike for French ideas and 
methods, but still more of ignorance. Sargent, with a large fol- 
lowing of the intelligent from the first, triumphed in the end but 
the victory would have come sooner in the time and the place 


of a Hals or a Rubens, a ‘Tiepolo, a Velazquez, or a Goya. 


Born in Europe and for the most part living in Europe, may 
John Sargent, it is often asked, be called an American? One of 


his kinsmen writes me that when this question was put to Sar- 


[XVI 


JOHN SINGER SARGENT 


gent himself he answered, “I have never considered anything 
but my American citizenship.” This, as soon as he could, he es- 
tablished legally. And his kinsman adds that he loved London 
but next to it Boston and that he “loved his American blood.” 
I think that in the quality of this heritage — which, as we have 
seen, could hardly have been better — we may find the source of 
the good-breeding of Sargent’s work in times when affectation on 
the one hand, crudeness on the other, have often marred good 
painting. Although when the subject seemed so to prescribe, his 
work is bold in conception, dashing and even audacious in treat- 
ment, it never seeks merely to dazzle the public, to show the 
painter’s cleverness. It is always sincere in mood and almost 
invariably distinguished in effect. It is always appreciative of 
refinement in the model and particularly sensitive to the charm 
of children and of elderly gentlewomen. 

Thus Sargent may rightly be called an American and his work 
may be prized as a part of our national wealth. Yet in another 
sense Sargent — Sargent the artist — was not an American. In 
the development of any man, but especially of an artist, environ- 
ment counts for much as well as heredity and the sentiment that 
this may engender. And Sargent was not moulded in his youth 
by American scenes, events, companions, and ideas. But neither 
was he in this sense Italian, French, or English. An environment 
that continually changed pressed him into no national mould. 
The fact speaks in his portraits. If in the externals of his work 
—as a craftsman — his affiliations were with France, this says 
only that they were cosmopolitan, for the France that taught him 
was teaching half the world. And neither French nor American but 


cosmopolitan again is the essence of his work, its spirit, the effect 


eexviles 


INTRODUCTION , 


it makes when many examples are gathered together. It does 
not show that instinctive unselfconscious bias in feeling and there- 
fore in vision which may set a painter’s nationality beyond a 
doubt even when he paints those who to him are foreigners. 
But with this painter cosmopolitan did not mean undiscrimi- 
nating. It meant impartial, catholic. Whoever was visibly of one 
country or another so reappears on Sargent’s canvas — his aris- 
tocratic Englishwomen, his Jews, as in the famous Wertheimer 
pictures, his Spanish Carmencita, his Parisian Madame Gau- 
treau, and his Americans of many kinds including, I may give 
assurance, our naively theatric, pseudo-Gallic painter Chase. 
Did this impartiality in some degree preclude depth, intensity, 
of feeling? Vitally individualized as are almost all Sargent’s fig- 
ures, are they often interpreted with that quality of sympathetic 
ardor or of sensitive intimacy which denotes a close kinship in 
nature — in temperament, feeling, and (in the broad sense of the 
word) taste — between the sitter and the painter ? In considering 
this question we should not forget that a painter of Sargent’s 
great vogue must often have portrayed not a person whom he 
would have chosen but one who had chosen him. And we must 
also remember the other side of the matter — the degree in which 
Sargent’s somewhat cool catholicity of eye widened his range as 
a veracious recorder. Could a passionate Goya, we may ask our- 
selves, or an exuberant Rubens have painted any one to look any- 
thing but Spanish or Flemish? If even Carmencita is not as em- 
phatically Spanish as are, for example, Zuloaga’s fellow-country- 
women, nevertheless she 7s Spanish; and what, we may ask 
again, would Zuloaga have made of a Miss Burckhardt or a John 
Rockefeller or a Miss Thomas of Bryn Mawr? What would an 


vex Ties 


JOHN SINGER SARGENT 


ingrained Englishman like Sir Joshua have done with a Betty 


or an Asher Wertheimer ? 


Many things, of course, besides an astonishing number of por- 
traits with one or two figures and the mural paintings and reliefs 
at Boston and Cambridge, came from Sargent’s indefatigable 
hand. Well known are his Spanish and Italian street scenes, in- 
teriors, and figures and his admirable landscape work in water- 
color, but less familiar such work in oil as certain Swiss land- 
scapes and the Lake O’Hara of the Fogg Museum which deals 
triumphantly with terrestrial and atmospheric factors usually 
thought ill fitted for picture-making. And we have in this coun- 
try no analogues to his brilliant groups of young Englishwomen, 
to the daring and florid great picture of the Marlborough family 
which brings portraiture into the domain of decorative art, or to 
the various canvases commissioned by the British government 
during or after the late war. Among these are a group of twenty- 
two members of the General Staff and the large outdoor picture 
called Gassed with its pathetic, tragic procession of blinded 
soldiers. 

Although no collection can show all sides of Sargent’s work 
much is told of its variety by the pictures that have now been 
carefully assembled. For one thing, they upset the too general be- 
lief that Sargent had a single “characteristic ” technical method, 
an habitual “way” of painting. Bold, audacious, swift, dashing — 
terms like these have most commonly been applied to his brush. 
Often they are appropriate, often they are not. The character 
of the theme determined the character of the handling which 


—while always synthetic, always free, frank, direct — varied 


eo ka 


INTRODUCTION , 


from the most amazing bravura to a crisp lightness or a mellow 
sobriety of touch. 

All this one may see. But one must be told that, however swiftly 
sure, however spontaneous, the rendering of any passage in Sar- 
gent’s work may seem, it does not certify to ease in the doing. 
Every passage, every stroke, was well considered, precisely 1n- 
tended, rapid though the mental process and the final expression 
may have been. Where the charm, the marvel, of fluent and sum- 
mary execution is greatest, he may have got his effect with almost 
miraculous quickness and certainty or, it is quite possible, only 
after one, two, or many re-paintings. As a fellow-craftsman once 
wrote of him, he never spared pains to give the impression that he 
had had to take no pains. “I can’t believe,” Sargent himself said 
to me of the lovely portrait of little Beatrice Goelet then just com- 
pleted, “I can’t believe that it is very good — I did it so easily.” 
Yet over this too he had labored, even recasting the design when 
the picture was well under way. 

It is still more needful to understand that Sargent’s remark- 
able powers of hand were based upon a profound and accurate 
knowledge of form. Able in all directions, yet not a great master 
of color or of composition, he was a very great draughtsman; and 
it was the knowledge this implied, the veracity it ensured, that 
permitted and justified his freedom and speed of hand. Many men 
have tried in vain to paint “like Sargent.” It cannot be done with- 
out Sargent’s science or without his keen-eyed self-criticism and 


valorous patience. 


Apart from the work that filled his life, history will have little 
to say of John Sargent. And this is what he would have wished. 


Pesc 


JOHN SINGER SARGENT 


His work he gave lavishly to the world. Himself, including his 
thoughts about his work, he kept for his friends. To these an inter- 
esting and stimulating companion, he was reticent with the gen- 
erality and, despite his commanding physical presence, always 
retained a certain shyness of manner. In at least two countries 
the most widely known and applauded artist of his day, his own 
estimate of his powers and his pictures was more modest than 
might be thought possible, and he owed no part of his fame to 
self-advertisement. Few anecdotes have been told about him, few 
opinions attributed to him, for he did not teach or lecture or write 
or submit to the interviewer, and “society,” especially in the lat- 
ter partof his life, attracted him little. Yet he was far from being 
a recluse and was never too busy to take an active part in artistic 
affairs of public or private importance. He was an accomplished 
musician, a linguist, an assiduous reader of cultivated taste, and 
a lover of all things beautiful and fine who was content to own 
but few of them. Unmarried, he found the domestic atmosphere 
he craved in the close companionship of his sisters and nieces. It 
was another kinsman than the one I have quoted who wrote of 
him shortly before he died: “Simple in life, stern in self-judg- 
ment, kind and indulgent in his judgment of others, devoted to 
the members of his immediate family, and a good and generous 
friend to struggling artists, Sargent the man, for the very few 
who really know him, is not less remarkable than Sargent the 


artist, known and admired by all the world.” 


The history of the art of painting during the last hundred years 
tells of so many changes in standards of appraisal, of so many 


verdicts revised or reversed, that there is often an excuse for us 


XI 


INTRODUCTION , 


if, in these experimental, innovating days, we judge a contem- 
porary with a somewhat timid thought of possible future judg- 
ments. Often an excuse but not always, and not in the case of 
John Sargent. Neither the imitator nor even the lineal offspring 
of any one of the great men of the yesterdays, none the less he 
belongs in their company. Uninfluenced by current novelties in 
theory or in practice, he carried on in his own way the great 
old Renaissance tradition. ‘Therefore the generations in judging 
his predecessors have in large measure judged him also, and we 
may speak of him almost as confidently as of them. His rela- 
tive place among painters of eminence may, indeed, be more than 
once readjusted, but from their number he cannot be banished. 
He must always be thought a master of his art unless, in an 
all-inclusive way that is inconceivable, “the future dares forget 


the past.” 
Mariana Griswotp Van RENSSELAER 


E Sean 3 


1879 
1881 
1889 
1889 
1890 
1891 
1893 
1894 
1894 
1897 
1897 
1897 
1900 
1901 
1903 
1903 
1903 
1904 
1904 
1905 
1907 
1909 
1909 
1909 
1913 
1914 
1915 
1916 
1916 
1925 


AWARDS AND HONORS 


Flonorable Mention, Paris Salon 

Second Class Medal, Paris Salon 

Medal of Honor, Paris Exposition 

Chevalier of the Legion of Honor 

Medal, Art Club of Philadelphia 

Associate of the National Academy of Design 

Medal, Columbian Exposition, Chicago 

Temple Gold Medal, Pennsylvania Academy of the Fine Arts 
Associate of the Royal Academy 

Academician of the National Academy of Design 
Academician of the Royal Academy 

Officer of the Legion of Honor 

Medal of Honor, Paris Exposition 

Gold Medal, Pan-American Exposition, Buffalo 

Converse Gold Medal, Pennsylvania Academy of the Fine Arts 
Gold Medal, Berlin 

Degree of LL.D. conferred by the University of Pennsylvania 
Grand Prize, St. Louis Exposition 

Degree of D.C.L. conferred by Oxford University 

Gold Medal of Honor, Liege Exposition 

Gold Medal, Venice International Exposition 

Beck Gold Medal, Pennsylvania Academy of the Fine Arts 
Ordre pour le Meérite 

Order of Leopold of Belgium 

Degree of LL.D. conferred by Cambridge University 

Gold Medal of Honor, National Institute of Arts and Letters 
Gold Medal, Panama-Pacific Exposition 

Degree of LL.D. conferred by Yale University 

Degree of Art. D. conferred by Harvard University 

Fine Arts Medal, American Institute of Architects 


ESeae a 








OGUE 


CATAL 








PAINTINGS IN OIL 


Arranged in chronological order with dates approximate or ex- 
act. All the paintings are on canvas. With two exceptions all are 
illustrated. 
a" As 
1 Rehearsal of the Pasdeloup Orchestra at the 
Cirque da’ Hiver 1876 
H. 214; w. 18+ inches. 
Lent by the Museum of Fine Arts, Boston. 


2 Luxembourg Gardens at Twilight 1879 


H. 283; w. 36 inches. 
Lent by The Minneapolis Institute of Arts. 


3 The Parisian Beggar Girl 1880 


He 25s; w..17% mches. 
Lent by Paul Schulze. 


4. The Spanish Gypsy About 1880 


H. 187°; w. 11 inches. 
Lent by Louis B. McCagg. 


5 The Spanish Courtyard About 1880 


e274; w. 31 inches: 
Lent by Louis B. McCagg. 


6 Mrs. James Lawrence 1881 


H. 24; w. 18 inches. 
Lent by Mrs. Nathaniel F. Emmons. 


7 Daughters of Edward Bout 1882 


874 inches square. 
Lent by the Museum of Fine Arts, Boston. 


3 


10 


11 


12 


13 


14 


15 


16 


CA TALOG UE 
The Sulphur Match 


H. 23; w. 167°s inches. 
Lent by Mrs. Louis Curtis. 


Venetian Water Carriers 


Hes iw 2 ee ainches: 
Lent by the Worcester Art Museum. 


Madame X; Portrait of Mme. Gautreau 


H. 823; w. 434 inches. 
Property of The Metropolitan Museum of Art. 


Robert Louzs Stevenson 


H. 20}; w. 24+ inches. 
Lent by Mrs. Payne Whitney. 


Mrs. Burckhardt and Daughter 


H. 794+; w. 564 inches. 
Lent by Mrs. Harold Farquhar Hadden. 


A Street in Venice 


H. 17%; w. 21 inches. 
Lent by Mrs. Stanford White. 


Mrs. Henry G. Marquand 


H. 664; w. 4.2% inches. 
Lent by Mrs. Allan Marquand. 


Portrait of a Child 


H. 482; w. 36% inches. Not z/lustrated. 
Lent by Mrs. Austin Cheney. 


Mrs. Charles E. Inches 


H. 33%; w. 24 inches. 
Lent by Mrs. Charles E. Inches. 


ag 


About 


1882 


1882 


1884 


1885 


1885 


1886 


1887 


1887 


1887 


17 


18 


19 


20 


21 


22 


23 


24 


25 


PAINTI'NGS IN OIL 


Mrs. Elliott F. Shepard 
H. 8475; w. 484 inches. 
Lent by Mrs. William Jay Schieffelin. 


Mrs. Adrian Iselin 


H. 600i; w. 36+ inches. 
Lent by Miss Georgine Iselin. 


Caspar Goodrich 


H. 265; w. 194 inches. 
Lent by Mrs. C. T. Davis. 


Mrs. Dave Hennen Morris as a Child 


H. 30; w. 21% inches. 
Lent by Mrs. Dave H. Morris. 


Paul Helleu Sketching with his Wife 
H. 264; w. 32% inches. 
Lent by The Brooklyn Museum. 


Joseph Jefferson, as Doctor Pangloss in 
“The Heir-at-Law’”’ 


H. 364; w. 28+ inches. 
Lent by The Players, New York. 


Sketch of Joseph Jefferson 


H. 184; w. 15 inches. 
Lent by the Executors of the Will of John Singer Sargent. 


Portrait of a Lady 


H. 50; w. 40 inches. 
Lent by Augustus P. Loring. 


1888 


1888 


1888 


1888 


1889 


1890 


1890 


1890 


Edwin Booth About 1890 


H. 874; w. 612 inches. 
Lent by The Players, New York. 


[ieee 


29 


30 


31 


ORD) 


34 


CATALOGUE 


Mrs. Edward L. Davis and Son 


H. 86; w. 48 inches. 
Lent by Livingston Davis. 


John Singer Sargent 
H. 21; w. 16% inches. 


Lent by the National Academy of Design. 


Miss Helen Sears 
H. 652; w. 35% 1nches. 
Lent by Mrs. Montgomery Sears. 


Mrs. George S winton 


H. 904; w. 484 inches. 
Lent by The Art Institute of Chicago. 


Mr. and Mrs. I. N. Phelps Stokes 


H. 844; w. 39% inches. 
Lent by I. N. Phelps Stokes. 


Henry G. Marquand 


H. 514; w. 403 inches. 


Property of The Metropolitan Museum of Art. 


Miss M. Carey Thomas 
H. 584; w. 381s inches. 
Lent by Bryn Mawr College. 


Senator Calvin S. Brice 


H. 58+; w. 38:5 inches. 
Lent by Miss Helen O. Brice. 


Mrs. Montgomery Sears 


H. 584; w. 38:%5 inches. 
Lent by Mrs. Montgomery Sears. 


Oe 


1891 


1892 


1895 


1896-97 


1897 


1897 


1898 


1898 


1899 


36 


ou 


38 


39 


4:0 


41 


4.2 


43 


PAINTINGS IN OIL 


James C. Carter 


H. 57; w. 38 inches. 
Lent by the Harvard Club of New York. 


The Honorable Joseph Hodges Choate 


H. 584; w. 385 inches. 
Lent by the Harvard Club of New York. 


Egerton L. Winthrop 


H. 64; w. 434 inches. 
Lent by Egerton L. Winthrop, Jr. 


Mrs. William C. Endicott 


H. 643; w. 454 inches. Not z/lustrated. 
Lent by William C. Endicott. 


William M. Chase 


H. 624; w. 412 inches. 
Property of The Metropolitan Museum of Art. 


Miss Kate Haven 


H. 264; w. 20 inches. 
Lent by Mrs. J. Woodward Haven. 


Edward Robinson 


H. 552; w. 36% inches. 


Lent by Edward Robinson. 


Mrs. Fiske Warren and her Daughter 


H. 59; w. 393% inches. 
Lent by Fiske Warren. 


The Honorable William Caleb Loring 


H. 563; w. 40 inches. 
Lent by William Caleb Loring. 


a 


1899 


1899 


1901 


1901 


1902 


1903 


1903 


1903 


1903 


44 


45 


4.6 


4:7 


4.8 


49 


5O 


51 


52 


CATALOGUE 
Mayor Henry L. Higginson 


H. 962; w. 60¢ inches. 


Lent by Harvard University. 


His Studio 


H. 214; w. 28% inches. 


Lent by the Museum of Fine Arts, Boston. 


Miss Garrett 


H. 584; w. 38% inches. 
Lent by Johns Hopkins University. 


Joseph Pulitzer 


H. 384; w. 28 inches. 
Lent by Mrs. Joseph Pulitzer. 


Padre Sebastiano 
H. 224+; w. 28 inches. 


Property of The Metropolitan Museum of Art. 


General Charles J. Paine 


H. 34; w. 284 inches. 
Lent by John B. Paine. 


The Fountain—Villa Torlonia 


H. 28; w. 22 inches. 
Lent by The Art Institute of Chicago. 


Dolce far niente 
H. 163; w. 28% inches. 
Lent by The Brooklyn Museum. 


Mountain Torrent — Simplon 
H. 343; w. 44¢ inches. 
Lent by Mrs. Montgomery Sears. 


8 


1903 


1903 


1904 


1905 


About 1905 


About 1905 


1907 


About 1909 


1910 


ee 


54 


55 


56 


Do 


PAINTINGS IN OIL 


Nonchaloire — Madame Michel 
H. 268; w. 31% inches. 
Lent by Mrs. Charles E. Greenough. 


Reconnoitering About 


H. 284; w. 22 inches. 
Lent by the Executors of the Will of John Singer Sargent. 


Two Girls Fishing 
H. 22; w. 284 inches. 


Lent by the Cincinnati Museum Association. 


Moorish Courtyard 


H. 28; w. 36 inches. 
Lent by James H. Clarke. 


Lake O’ Hara 


H. 374; w. 56? inches. 
Lent by the Fogg Art Museum. 


Tents at Lake O’ Hara 


H. 22; w. 28 inches. 
Lent by Thomas A. Fox. 


The Road 


H. 15; w. 26% inches. 
Lent by the Museum of Fine Arts, Boston. 


Exel 


1911 


1912 


1912 


1913 


1916 


1916 


1918 


a 


eee 
= 


eo 








14 


15) 


W ATER-COLORS 
Arranged in alphabetical order by lenders 
Wars 
Olive Grove 


Lent by John S. Ames. 
Magnolias 
Saddle Horse — Palestine 


Numbers 2 and 3, lent anonymously. 


Sketch of an Italian Model with Cope Illustrated 
Lent by Henry F. Bigelow. 


The Balustrade 

La Buancheria 

The Cashmere Shawl Illustrated 
Chalets 

Corfu — Cypresses 

Corfu — Lights and Shadows Illustrated 
Corfu — A Ramy Day IHustrated 
Corfu — The Terrace 

Crags 

Daphne Illustrated 
The Garden Wall 


16 


17 


18 


19 


20 


21 


22 


23 


24: 


25 


26 


27 


28 


29 


30 


31 


32 


One. 


CATALOGUE 
In a Quarry 
The Lesson Illustrated 
Lizzatori II 
Marla 
Marla Fountain 
Monsieur Derville’s Quarry 
Quarry 
Reading 
Santiago de Compostela, Spain 
The Tease 
Two Soldiers — Poperinghe 
Venice — La Dogana 
Venice — I Gesuati Illustrated 


Venice — Under the Rialto 


Numbers 5 to 29, lent by the Museum of Fine Arts, Boston. 
Arab Stable Illustrated 
Gourds 

In a Levantine Port 


In Sicily Illustrated 
Reed 


34 
35 
36 


oT 


38 


oo 


4.0 


41 


42 


43 
44 
45 
4.6 
47 


48 


WAT ER-COLORS 
Stamboul Illustrated 


Lomb at Toledo 
The Tramp Illustrated 


White Ships 
Numbers 30 to 37, lent by The Brooklyn Museum. 


Schooner Catherine, Somesville 
Lent by Richard W. Hale, Jr. 


Camp at Lake O’ Hara Illustrated 


Lake O’ Hara 
Numbers 39 and 40, lent by Victor D. Hecht. 


Portrait of Henry James (1843-1916 ) 
The only pencil drawing and therefore included with the water-colors. 


Lent by Henry James. 
Mrs. William James Illustrated 


Lent by William James. 
The Escutcheon of Charles V Illustrated 
The Giudecca 

In the Generalife Illustrated 
Szrmione 

Spanish Fountain 


Tyrolese Crucifix 
Numbers 43 to 48, property of The Metropolitan Museum of Art. 


L138. J 


49 


50 
51 
52 


53 


54 


8 


56 


57 


58 
59 
60 
61 


62 


CATALOGUE 


Canal Entrance 
Lent by John B. Robinson. 


Boat Yard Showing Hull 
Landing — Miami 

Negro Drinking 

Palm Thicket 


Numbers 50 to 53, lent by the Executors of the Will of John Singer 
Sargent. 


On the Deck of the Yacht Constellation 


Rainy Day on the Deck of the Yacht Constellation 
Numbers 54 and 55, lent by Herbert M. Sears. 


A Aranjuez 
Lent by Mrs. Montgomery Sears. 


Yachts at Fayal 
Lent by Richard D. Sears. 


The Bathers 

Derelicts 

Muddy Alligators 
Shady Paths — Vizcaya 


The Vizcaya Loggia 


Numbers 58 to 62, lent by the Worcester Art Museum. 


eaves 





ATIONS. 


. 


\\ 


x S 





i 








1 Rehearsal of the Pasdeloup Orchestra 
at the Cirque d’ Hiver 





2 Luxembourg Gardens at Twilight 








3 The Parisian Beggar Girl 





h Gypsy 


4 The Spanis 





5 The Spanish Courtyard 





ENCE 


M1 


James Lan 


6 Mrs 





7 Daughters of Edward Bott 





Match 


8 The Sulphur 





g Venetian Water Carriers 





10 Madame X; Portrait of Mme. Gautreau 





11 Robert Louzs Stevenson 





. Burckhardt and Daughter 


12 Mrs 





V entice 


in 


13 A Street 





14. Mrs. Henry G. Marquand 





16 Mrs. Charles E. Inches 





17 Mrs. Elhott F. Shepard 





18 Mrs. Adrian Iselin 





19 Caspar Goodrich 





20 Mrs. Dave Hennen Morris as a Child 





21 Paul Helleu Sketching with his Wife 





Copyright, 1925, Executors of John S. Sargent 


22 Joseph Jefferson, as Doctor Pangloss in 
“‘ The Heir-at-Law”’ 





Copyright, 1925, Executors of John S. Sargent 


23 Sketch of Joseph Jefferson 





24 Portrait of a Lady 





Copyright, 1925, Executors of John S. Sargent 


25 Edwin Booth 





26 Mrs. Edward L. Davis and Son 





27 John Singer Sargent 





28 Miss Helen Sears 





Copyright by The Art Institute of Chicago 


29 Mrs. George Swinton 





30 Mr. and Mrs. I. N. Phelps Stokes 





31 Henry G. Marquand 





32 Miss M. Carey Thomas 





33 Senator Calvin S. Brice 





34. Mrs. Montgomery Sears 





35 James C. Carter 





36 Ihe Honorable Joseph Hodges Choate 





37 Egerton L. Winthrop 





39 William M. Chase 





40 Miss Kate Haven 





41 Edward Robinson 





42 Mrs. Fiske Warren and her Daughter 





43 The Honorable William Caleb Loring 





44. Mayor Henry L. Higginson 





45 His Studio 





46 Miss Garrett 





47 Joseph Pulitzer 





48 Padre Sebastiano 





49 General Charles J. Paine 





ss 


Copyright by The Art Institute of Chicago 


50 The Fountain — Villa Torlonia 





51 Dolce far niente 





52 Mountain Torrent — Simplon 


a) gestae ele 





53 Nonchaloire — Madame Michel 





Copyright, 1925, Executors of John S. Sargent 


54 Reconnozterin g 





55 Two Girls Fishing 





56 Moorish Courtyard 


DIVE .CQ ayvT LG 











58 Tents at Lake O’ Hara 





59 Ihe Road 


ae ih 


he Me ey 


2 | , ; ‘ 7 : 9° , nee ls ee Beds OCs ae ee a - 
= . , } y ayn 4 ‘ a ae £ A _ Moa he wy | 2 | i ® 
mw : ; a : 2 & : nee i eae 
: zz : » ~ 2 “vr 





s 
mm 
' 








4. Sketch of an Italian Model with Cope 





7 Ihe Cashmere Shawl 





10 Corfu — Lights and Shadows 





11 Corfu— A Rainy Day 





14. Daphne 





17 Ihe Lesson 





28 Venice — I Gesuati 





oO Arab Stable 


S 





33 In Sicily 








34 Stamboul 





36 The Tramp 





39 Camp at Lake O’ Hara 





AY 


Wilham Jame 


Ss . 


42 Mr 





43 Ihe Escutcheon of Charles V 





45 In the Generalife 


. 





Of this Catalogue 
two thousand copies have been printed by 
D. B. Updike, The Merrymount Press, Boston 
in January, 1926 
One hundred additional copies 
have also been printed 
on larger paper 
‘As 
Four thousand additional copies of the regular 


edition have been printed in January, 1926 








2S 


a 











